An Oresteia: Agamemnon by Aiskhylos: Elektra by Sophokles: Orestes by Euripides by Anne Carson (Translator), Euripides, Sophocles, Aeschylus

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(Hardcover)

  • Pub. Date: March 2009
  • 272pp
  • Sales Rank: 151,768
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    Product Details

    • Pub. Date: March 2009
    • Publisher: Faber and Faber
    • Format: Hardcover, 272pp
    • Sales Rank: 151,768

    The Barnes & Noble Review

    "Why does this fear float always in front of my heart?" The Greeks were connoisseurs of foreboding; on their open-air stages they replayed their traumas, over and over again.

    We know from the scraps left to us that innovation was gradual -- the same stories, borrowed from history and myth, were put through ever more complicated paces. First there was the chorus, a choir singing narrative songs. Then the first actor stepped away from the chorus members and began to bandy with them. It was Aeschylus himself who introduced the idea of a second actor, making possible conflict as we know it. And actual fiction -- stories made from scratch -- didn't come till well after the golden age of Greek drama, with Agathon. Theater was so new that new stories weren't necessary. The greats -- Aeschylus, Sophocles, and Euripides -- were content to fiddle with old tales, rearranged.

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    Synopsis

    A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions—Aischylos’ Agamemnon, Sophokles’ Elektra, and Euripides’ Orestes—giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law.

    Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

    Publishers Weekly

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    Reviewed by Jennifer Michael Hecht

    This is a very strange masterpiece. It is an ancient Greek tragedy, but also new, and not just because Carson is its brilliant and original translator. The work of only three ancient Greek playwrights who wrote tragedies survives: Aeschylus, Sophocles and Euripides. They were the voices of distinct generations. Sadly, only a few of even their plays have made it down to us. Worse, the plays were often written as sets of three, and only one full set survives: the "Orestia," Aeschylus's story of the blood-drenched Atreus family.

    The odd thing is that among the surviving plays of the other two, Sophocles and Euripides, there exist plays about this same family, at different points in the action. Putting them together-as Carson does here-gives us a whole new set. Creating an Orestia comprising a play from each of the tragedians, translated by the same person, was the idea of theater director Brian Kulick. Carson tells us in her introduction that she initially resisted. As she had already translated two of the plays in question, she happily gave in. Lucky for us. We get to witness the horror unfold while also watching the ancient style develop: ever more players, ever more of the inner life, ever more self-reflection and wit. The laws of the story go from mythic, to human, to pure chaos.

    The drama is all blood: Dad kills daughter (for luck in war!); and mom kills dad in revenge (and because both have new lovers); the children kill mom in revenge for dad; and Orestes, who performed the matricide, has a howling, bedridden, breakdown. Elektra tells Orestes, in the second play,that no degradation could be worse than "to live in a house with killers." In the third play they discover something worse: being killers. It all ends in an orgy of violence, madness, a sudden god and two marriages. Readers will find stunning expressions of the pain that grown children feel after bad parental separations and neglect. The various characters' impressions of events is psychologically enthralling, and the poetry is sublime.

    Carson is one of the great poets writing today and is an equally compelling translator. Her language here is clear and comfortable and the volume can be read fast, like a novel, for a weird and thrilling ride. Read it slowly and you will find grace everywhere. When Helen of Troy explains how some widows of soldiers are angry with her and Elektra says, "No kidding." The great Greek playwrights may still be ancient, but the play is triumphantly fresh-and bloodier than a vampire novel.

    Jennifer Michael Hecht is a historian and poet, author of Doubt a History and Funny: Poems, among other books.

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    Biography

    Anne Carson was born in Canada and teaches Ancient Greek for a living. She is currently a professor of classics, comparative literature and English at the University of Michigan, Ann Arbor. Her publications include Eros the Bittersweet (1986), Glass, Irony and God (1995), Autobiography of Red: A Novel in Verse (1998), Economy of the Unlost (1999), The Beauty of the Husband: A Fictional Essay in 29 Tangos (2001), If Not, Winter: Fragments of Sappho (2002), Decreation: Poetry, Essays, Opera (2005) and Grief Lessons: Four Plays by Euripides (2006).

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